The Role Of Education In Achieving Local Identity- Based Interior .
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون The Role of Education in Achieving Local Identity- Based Interior Design by Utilizing Cultural Schema Assist. Prof. Dr. Rasha Mahmoud Ali El-Zeiny Faculty of Fine Arts, Minia University, 1October University for Modern Sciences and Arts(MSA) rasha elzeiny@yahoo.com Assist. Prof. Dr. Dalia Mohamed Ezzat Selim Faculty of Applied Arts, Helwan University drdaliaezzat2016@gmail.com Abstract Design education is the most important and crucial stage in a designer's preparation. The design studio is also the starting point in the process of teaching design students how to deal with the issue of identity. The paper discusses the major academic objectives and methodologies that were employed to explore the potential of cultural and architectural heritage as a valid platform for design education. The paper explores cultural schema through cognitive aspects by applying an empirical study and identifying the opportunities and constraints. The wider goal is to expand the boundaries of interior design, highlighting the role of interior design education in preserving our diversified traditional culture and the continuity of the local identity through achieving an innovational design. Under the monitoring to the final year interior design students, the empirical study was part of the design studio course. The effects of integrate elements extracted or derived from local identity into modern designs in their graduation project process through cultural schema theory are examined. As a result, a conceptual framework for discussing educating towards local identity is created, model that highlights the gaining of clear knowledge of design. The framework describes how students interpret the cultural meaning through interior design by adapting cultural schema theory. This was achieved by the following methodology; literature review in three main topics (cognitive, cultural schema that is forced to change or accommodate new information and design education) was applied. Moreover, this paper follows an empirical study methodology with an in-depth analysis of the data. Keywords Local identity; Cultural Schema; Interior Design Education; Design Studio 1. Introduction Globalisation has created a new consciousness of local culture in an effort to sustain cultural values and identity. Given the need to highlight one’s identity, which involves local identity and its relation to culture. The trend of cultural design is evident in the localisation and globalisation movements. Localisation goal is to create a design for the culture it emerges from, while globalisation aims to produce a cultural design for the international market (Hsu, C.H., Chang, S.H., 2013). Interior Design education is the most important and critical stage in setting up the interior designer. Also, the design studio is considered the point of departure in the process of teaching interior design students how to deal with the issue of design identity. According to Tarek Abdelsalam (2009), because some of globalization young designers are influenced and affected DOI: 10.21608/mjaf.2020.34982.1708
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون by western thoughts; therefore, the educational process is exposed to the western design reflection. This thought affects the process directly through the dominant western interior design publications, indirectly through the accumulated thought of the academics who have studied and trained in the west, or through Internet that has found its way into reshaping students’ minds as it brings new ideas that decrease their cultural sensitivity and eliminates cultural differences, creating a crisis of identity and local culture preservation (Dalia & Zeinab, 2018). Accordingly, the Arab interior design thought will continue to be correlated to the contents and theories of the western thought until a new ideology replaces the existing one. The new ideology needs to address the identity dilemma in the design thought, which reflects a conflict between the authentic and the occidental, and the local and the global. Setting up the interior design thought through the educational process is subjected to many educational and socio-cultural principles. As the educational process is based on a curriculum, this curriculum needs to focus on dealing with the issue of identity in a different way that overtakes the superficial level of cultural and historical artefacts. At this point, a critical question is raised, which is; what type of knowledge should be provided? and what is the appropriate strategy to be used to provide such knowledge? and how it could be applied in the design process? It is significant also to indicate that the research is based on schema theory that explains culture at the cognitive level and especially cultural schema theory, however, cultural schema and the spatial dimension of culture and its application in the interior design process have not been studied yet as most the studies focusing on product design. 2. Literature review 2.1. Schema theory Schema is defined as cultural constructs in memory (Bartlett, 1995), it is a sort of mental state deep-seated in our conscience, organized mentally as a framework of our past experiences, images, behaviour, environment or events. This input structure represents the generic concepts stored in memory. Schemas are higher-order cognitive structures that have been considered to motivate many aspects of human knowledge and skill. Schema theoretic notions became the active power of stimulation, a head of empirical investigation methods within processes, as a conceptual (visionary) structure, which represents our knowledge of objects, situations, events, actions and sequences of action (Anderson & Pearson,1984; Brewer& Nakamura,1984; Campbell,1989; D’Andrade, 1992; Rumelhart & Ortney,1977; Wertsch, 1991). Schema stores perceptual and conceptual information about the world and makes interpretations of events (Uysal, 2012). Furthermore, the schema is hierarchically prepared to store information in different levels from abstract to concrete. Both concrete ones (e.g., visual appearance, written law) and abstract (e.g., faith, justice) are stored and can be applied (Rumelhart, 1984). (Piaget)* stated that “human development existed as a process where the individual integrated between new experience and his present schemas” (Piaget, 1952). (Piaget) describes the growth of schemas in three steps; Assimilation (fully understanding- absorption), where an individual uses his existent (generic) schemes to make sense of a new event. This process includes trying to understand something new by adjusting it to what he already knows. Step two is accommodation, which is the alteration of existing
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون * Jean Piaget (1896 –1980) was a Swiss psychologist known for his work on education development and epistemological view are together called “genetic epistemology". schemas to respond to a new state. While step three is Equilibration (to be balanced equally) which is the complicated act of compromising in organizing, assimilating, and accommodating. It is the state that encourages us to explore a solution throughout assimilation or accommodation (Piaget, 1952). The consequence of the aforementioned three steps is prior knowledge, surroundings of reference in understanding/interpretation of received information and in generating new ones (Bruning, Schraw & Norby, 2011). Moreover, (Brewer(* reformulated the (Piaget) process as schema-based information processing involving three elements: Generic schema, contains established structural knowledge, skills, relations, behaviour, etc. and slots to accommodate new information. Episodic input, information collected from the environment during the exposure to motivations. Instantiated schema, the consequence of the interaction between generic schema and episodic input. Instantiated schema, schema that is iterated and kept in the long-term memory. (Brewer and Nakamura, 1984) 2.2.Image schema and metaphor An image schema is a repeated frequently format within cognitive processes which establish patterns of understanding and also it is a repeated dynamic pattern of our perceptual communication that gives logic structure to our prior knowledge, in addition, prior knowledge in a wide scope includes basic perceptual and cultural background, ideology, emotional, historical, social and language dimensions (Johnson, 1987). Therefore, cognitive individuals of ancient civilization lands based on certain identity, culture and ideology give priority to some of the image schemas differently. This view is based on dynamic embodied patterns which motivate conceptual metaphor mappings (Lakoff& Johnson, 1980). A metaphor is defined as "a cross-domain mapping in the conceptual system" (Lakoff, 1993). It shapes not just our communication, but also the way we think and act, and helps in mapping one idea and links it to another to better understand (Lakoff& Johnson, 1980). A metaphor acts creatively or is a creative act which holds meaning on top of the schematic structures established by new connections that open the way of understanding novel abstract existence. To rephrase, metaphors are understood by accessing stored abstractions and taking it one step further (Metaphors are used frequently to understand theories, models, and help in the establishment of further comparisons (Lakoff& Johnson, 1980). 2.3.Cultural schema as a cognitive attribute The anthropological researchers usually used the term cultural schema in their studies, such as those that explore the meaning of the cultural groups, and linguistic researches. The cognitive anthropologist (Roy D' Andrade) **conducted the best-known studies on cultural schemas; he initiated the concept of cultural schemas as types of basic schemas that form the meaning system of a cultural group. According to (D'Andrade) "schemas could concern individuals, objects, situations, events, and sequences of events and explained a cultural schema as an abstract
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون cognitive model that contains specific scripts with recognizable individual roles" (Nisbett & Norenzayan, 2017). Many anthropological, sociological and psychological studies have discussed cultural schema in design research and have investigated the relationship between creativity and cultural schema. One of the most significant studies that has been published on these subjects was by (Mihaly Csikszentmihalyi) ***. He stated that "creativity is the cultural counterpart of genetic changes that result from biological evolution" (Csikszentmihalyi,1996). Csikszentmihalyi defined creativity as a mental process that cannot be separated from the social& cultural systems in which the individual live (Csikszentmihalyi,1999). He has also asserted that creativity is generated from interaction among three factors: culture; which keeps and transmits the chosen values, ideas, and beliefs to following generations, social system, which pick out information, values and behaviours that are worth continuing. * William F. Brewer, Emeritus Professor of Psychology, cognitive psychologist at University of Illinois Urbana-Champaign. **one of the founders of cognitive anthropology, was recognized in many ways for his contributions to anthropology and to cognitive science, In 2002, he was awarded the NAS Award for Scientific Reviewing from the National Academy, and in 2005 he received the Lifetime Achievement Award from the Society for Psychological Anthropology. ***Mihaly Csikszentmihalyi is a Hungarian-American psychologist. He recognised and named the psychological concept of flow, a highly focused mental state conducive to productivity. He is the Distinguished Professor of Psychology and Management at Claremont Graduate University Nevertheless, Razzaghi (2009) asserted that, throughout the early stages of concept generation in the design process, demonstrations of culture subconsciously or unconsciously surface, to some extent as a result of the designer's cultural beliefs, values and preferences. Moreover, a Csikszentmihalyi (1999) stated that "creativity is a mental process that cannot be isolated from the socio-cultural systems in which the individual functions". Obviously, culture and design process have a direct relationship to the cognitive process. As Sharifian (2001) indicated, "Cultural schemas are conceptual structures that enable an individual to store perceptual and conceptual information about his or her culture and interpret cultural experiences and expressions". Also, Engeström (2001) indicated that the origin of creativity is not placed inside an individual's head, but it is a result of the interaction between individual thoughts and his socio-cultural environment. Culture has an impact on our thoughts, actions and the way we classify people into social categories based on their cultural traits (Gautam & Blessing, 2007). In design, cultural factors allow better use of culture as a source of innovation. Also, they help to adopt technologies to suit their social context. One could argue that paying attention to cultural factors might affect the diversity of design concepts, and this enhances innovation. Such design innovation will have been assimilated within the person's socio-cultural context, and this might increase the user's satisfaction.
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون 2.4.Spatial dimension of culture Culture is the aggregate of mental depictions, their public expression, and subsequent behaviours in particular contexts. Those factors are continuously in non-stop interaction with each other. Culture involves mental, behavioural and physical states, which has been described by (Intan, Haruo& Shinichi, 2016) in terms of three levels of spatial dimensions of culture: the inner level which includes beliefs, values, preferences and other psychological aspects; however, intermediate level involves activities and behaviours. (Intan) also stated that one’s behaviour is the reflection of norms, values, and beliefs, that are internalised at the inner level. The third level is the outer level that consists of artefacts, objects, design elements and interior spaces. It is clear that these level elements are created to meet human needs which represent the inner level and activities that represent the intermediate level. Meanwhile, there is a dynamic and mutual relationship among the three levels, and they influence each other. Moreover, Shore classified cultural schema into two groups, externalised schema, which is the public representation of schema in the form of cultural artefact or design. Furthermore, internalised schema, which refers to the cognitive representation of the externalised schema. These two groups always modify and interact with each other. This meaning is analogous to the spatial dimension of culture theory introduced by Siu and Ardila. The nature of culture schema is mostly unconscious, so it is not very easy to analyse. However, the analysis can be attempt via schema activation in response to stimuli matching to the three levels of culture. Also, the three levels of design feature proposed by (Norman, 2007); visceral, behavioural and reflective as he pointed out that a successful design surpasses in three levels of emotional design – visceral level (appearance and appealing), behavioural level (functionality and performance), and reflective level (the meaning, self-image, and message of a product). Norman explained that visceral is the basic level that generates a prompt reaction, and it is related to appearance and delight to see a well-designed object or space. The visceral quality of space/product determines the first emotional relationship between the user and space/ product. Meanwhile, the behavioural level is related to the overall experience of using the space/product – functionality and performance - where appearance does not matter. The reflective level is the highest level of the emotional state of design; it is related to the message and the meaning of a design that is transferred to others and reflects the culture and self-image. (Marsha Aftab& Helen Agustin Rusli, 2017) see figure.1. Figure 1. The Spatial dimension of culture& the three levels of design features
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون 2.5.The interior design process as a creative problem- solving process The creative problem-solving is defined as the process of generating creative ideas, the interpretation of these ideas, and the creation of the creative solution. This creative-cognition vision of creativity provides an essential base for investigating the interior design process as it depends on basic cognitive technique, such as memory retrieval and transformation, to describe how people produce new solutions (Smith et al,1995). Fundamentally, the creative process is the production of creative thoughts, the exploration and interpretation of the idea, and creating the design solution. The Geneplore model of Smit et al (1995) and the directed creativity cycle model of (Plsek*) (1997) were analysed to describe the interior design process as a creative cognitive process. These two models have been considered in this study and helped in exploring the creative cognitive process. According to Smith et al (1995), the Geneplore model suggests a framework to explain how human thought may evolve during the creative thought process. The creative process includes two phases; The generative phase and the exploratory phase. Throughout the generative phase, an individual set a cognitive representation known as a preventive structure, which has different properties that enhance creative thoughts. These properties are explored during a subsequent exploratory phase, in which the individual tries to understand and interpret the preventive structure in significative ways. Moreover, Plsek (1997) splits this framework into four phases and applies them to Preparation, Imagination, Development, and Action. Starting with the -Living with It- quadrant, Plsek pointed out that individuals live day-to-day in a similar context as all others (assimilation). However, creativity thought patterns begin with great attention to the details and the precise observation of their environment, combined with heedful investigations of specifically the ways things function and do not succeed. Most of these mental and emotional activities create a record of information within the memory(accommodation). Employing this record, most individuals build unique thoughts to satisfy specified requirements by purposefully seeking connections within configurations (Equilibration). (Plesk*) stated that “attention should be given to pursuing equilibrium amidst a satisfying and untimely environment, and to reap and boost ideas prior to subjecting ideas to a conclusive end state” (Plesk 1997). Nevertheless, having imaginative thoughts is not enough; ideas are useless until it is put to work and executed. Finally, the Action phase of the framework explains that creative thoughts are worth on state that these are generally implemented in real life. Based on the previously described method, the cognitive, creative process is the generation of the design solution, and it is sensational thinking that includes generative and exploratory phases. The identification of cognitive steps and structure are the core of this approach. That is, the creative cognitive process can be identified by investigating interior design because interior design is a cognitive process that involves creativity, synthesis, and problem- solving (Cross, 2001). Furthermore, the creative cognitive process can be explained by the investigation of the design studio. Therefore, the cognitive part of the creativity inside the design studio can be specified by creating a creative cognitive approach, see figure. 2.
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون * Paul Plsek is an internationally recognized advisor on creativity, innovation, leadership, and the management of change in complex systems. Generative Phase Exploratory Phase Figure 2 Interior Design as a creative problem - solving process (adapted from Plsek, 1997& Smith etal.1995) In the traditional project-based learning studio, students often have to answer a general question, to solve a concrete or well- defined problem. But, in the new design studio approach, students have usually given a real-world project that Leeds them to search knowledge and gain understanding away of their own professional territory and their comfort zones. Creative problem solving is defined as a creative process that use both the divergent and convergent thinking, by creating as many options as possible (diverging) and then narrowing down into a number of promising ideas (converging). in the design studio student groups have to be encouraged to create “How Might We” questions as a way to input, to explore, and to suggest. These types of question will suggest that a solution is possible and offer the change to answer them in different ways. After that, the group members have to start brainstorming session as a creative thinking technique to create ideas. So that they can make a decision on which the highest score as the possible solutions. This kind of activity is depending on no judgment, to encourage as many ideas as possible, build on the ideas of others and stay focus on the target (Pham Tu Ngoc, Davide Fassi, 2018). 2.6.Design education and culture Design education is not a structure that is focused on a one-dimensional and fixed teaching/learning process. Conversely, it is a kind of education that needs a framework that guides the design student to multi-dimensional and active thought processes (Cross, 2006). The design studio, as an essential element of the educational process, is recognised as a cognitive and social system, including knowledge and formation of knowledge structures with social interactions, where creativity is a core element. Creativity and the cognitive design process inside the studio are related to students ‘cultural schemas. According to Oxman (2001), There are four main factors that affect the design and the design studio; cognitive modelling, knowledge (and the formation of knowledge structures), representation, and reasoning. Cognitive modelling is the symbolic representation of phenomena in design. It is a didactic medium that enables the student to better comprehend the richness and complexity, as well as the formality, of thought in design. For example, modelling can be employed to formulate phenomena related to design, such as the approach of developing
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون and applying concepts, the speediness thinking with mental images, and the performance of solving problems and creating solutions using analogies. Representation involves the different symbolic representation of designs and their manipulation during design, mainly visual representations. Reasoning involves the symbolic representation and the processes of ideas generation in cognitive phenomena, for example, reasoning from historical design ideas (cases), reasoning with analogy and metaphor, or reasoning with visual images. In the design studio, knowledge is exchanged and transmitted between student and educator. Active interaction between the educator and the student is essential in the design studio so that the messages are transmitted in an effective way (Uluoglu, 2000). By this way, the student builds structured representations of concepts and relate them to other ideas and fills the structures with the content of the specific design area or design scope. As a result of this process; structured representation of knowledge become clear as an important element to be taught and transferred in education. Through modelling, knowledge in its conceptual form and intellectual processes in the design are gained (Oxman, 2004). The study of design thinking has developed our understanding of the nature of knowledge based on research that has been conducted with different representational schemas. Galambosetal (1986) stated that “generally, representational schemas in the design are formal constructs for capturing, acquiring and representing types of knowledge structure used in design”. From this point of view, we can define the goal of the design studio as the attainment of design knowledge by focusing on cultural schemas, knowledge structures, and global strategies in design thinking. Through building representations of design thinking, the student progressively develops his/her skills to think in “designedly” ways. This development leads to an understanding of the cognitive processes that are characteristic of the design. 3. Model of the study The literature review has highlighted the schema theory and the relationship between the designer’s cultural schema and the design process in the design studio. In the design educational studies, these factors are studied separately, and the interactions among these factors are not analysed. This study attempted to investigate the cognitive process involved in designing local identity- based design by applying the suggested model in Interior Design studio. The model developed in combination with key elements from the following models: - Schema-based information processing (Bruning, Schraw, Norby & Ronning, 2004) - The spatial dimension of culture theory (Siu, K.W.M, 2005& Ardila, A., 2005) - Directed creativity cycle (Plesk Working Paper: Creativity Models, 1997) The model was constructed based on schema processing using three variables; generic schema, episodic in put& instantiated schema and their interaction with the design process as a creative problem- solving solution. In the framework, cultural schema acts as a generic schema, while episodic input represents stimuli related to the design problem. These variables represent the preparation/ generative phase in the creativity cycle. The interaction between cultural schema and stimuli activates schemata that result in the instantiated schema in the form of opportunities and constraints. Opportunities and constraints occur through the interaction between information derived from the interpretation of cultural/or historical design elements using the spatial dimension of culture theory and new information/ stimuli. Therefore, opportunities and constraints based on schema processing are needed to accommodate references other than
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون cultural or historical elements. This stage is parallel to the imagination phase in creativity cycle. The information of opportunities and constrains is to be applied to design process which involves syntheses and embedded (appropriation) of the information to produce a new design, which represents the enhancement and action stage in the creativity process, which produce an innovative design. Figure 3. Model of the empirical study; local identity- based Interior design process
2021 نوفمبر مجلة العمارة والفنون والعلوم اإلنسانية – المجلد السادس – العدد الثالثون 4. Empirical research 4.1. Experimental procedures This experiment aimed at practising the application of local identity- based design model. This was done in the Interior Design department at faculty of Arts& Design, October University for Modern Sciences and Arts (MSA) at the academic year 2018-2019. With ten weeks allocated for Graduation project I (research phase) which was dedicated to establishing the parameters of the project, defining the design problem, and proposing an initial approach to addressing the problem, and 11 weeks allocated for Graduation Project II (design phase) that was dedicated to developing the proposed approach to fully designed interior project. Egypt Identity through Interior Design was the chosen theme for the graduation project this year in which 72 students were highly encouraged to thoroughly explore, analyse and study particular projects in Egypt and to integrate the research findings in an interior design project of a building of their own choice. The students were encouraged to create designs that strike a balance and introduce what can be argued as a contemporary Egyptian Interior Design identity that respects history, and socio-cultural aspects while open new visions for the future. The experiment was conducted in three phases: 4.1.1. Beginning: exposure to motivations. The cultural schema theory was integrated into the design process. With the help of this theory, it was aimed to encourage students to come up with a creative concept and design by exposing them to various stimulants and motivations. Preliminary research established a student’s involvement in the concept of culture and identity in interior design. Students were required, over a fixed time period, to conduct research to support individual identification and actively guide their thinking and structuring of their thoughts. At the first phase of the cultural schema theory, the students were asked to select a site exposing local identity in Egypt, visiting, and observing the exterior and interior while photographing their surroundings. Some even travelled to the destination of their selected site to spend days there which were geographically far, especially to Upper Egypt, the North Coast& Saini. Fully understanding and absorbing the site is the desired outcome, where students use their existing (generic) schemes to make sense of the new event. This process contains trying to understa
Interior Design education is the most important and critical stage in setting up the interior designer. Also, the design studio is considered the point of departure in the process of teaching . Accordingly, the Arab interior design thought will continue to be correlated to the contents and theories of the western thought until a new ideology .
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
